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PRICE 15 CENTS. 




DE WITT’S ACTING PLAYS. 



(Number 327.) 




Number Two. 





A Farce , 


IN ONE ACT 


By AUSTIN FRIARS. 


TOGETHER WITH 

A Description of the Costumes—Cast of the Characters—Entrances 
and Exits—Relative Positions of the Performers on the 
Stage—and the whole of the Stage Business. 



gfeiu ^Jorli: 

DE WITT. PUBLISHER, 


No. 33 Rose Street. 




0T A COMPLETE DESCRIPTIVE CATALOGUE OF DE WITT’S ACTING 
AND DEWITT’S ETHIOPIAN AND COMIC DRAMAS, containing 

_ ^ Costume, Scenery, Time of Representation, and every other informa- 

READY. / iS „_ ma ij e( j f ree an d post-paid. 


NOW 


( m* a 

J PLAYS, A 

. J Plots, Cos 
* tion, mail 























































DE WITT’S 


1 

I 


ETHIOPIAN AND COMIC DRAMA. 


Nothing so thorough and complete in the way of Ethiopian and Comic Dramas has ever 
been printed as those that appear in the following list. Not only are the plots excellent, the 
characters droll, the incidents funny, the language humorous, but all the situations,'by-play, 
positions, pantomimic business, scenery, and tricks are 60 plainly set down and clearly 
explained that the merest novice could put any of them on the stage. Included in this 
Catalogue are all the most laughable and effective pieces of their class ever produced. 

*** In ordering please copy the figures at the commencement of each i>iece, which 
indicate the number of the piece in “ De Witt’s Ethiopian and Comic Drama.” 

JSST Any of the following Plays sent, postage free, on receipt of price —Fifteen Cents 
each. 


J6QT The figure following the name of the Play denotes the number of Acts, 
figures in the columns indicate the number of characters—II. male; F. female. 


141. 


73. 

107. 


113. 

133. 

43. 

42. 

79. 


40. 

6. 


10 

11 . 

146. 


110 . 


126 

127. 

128. 


120 . 


78. 

89. 


24. 

108. 


148. 


35. 


112 . 


41. 

144. 

140. 

12 

53. 

63. 

131, 


M. F. 

Absent Minded, Ethiopian farce, 1 

act.3 1 

African Box, burlesque, 2 scenes... 5 
Africanus Bluebeard, musical Ethi¬ 
opian burlesque, 1 scene. 6 2 

Ambition, farce, 2 scenes. 7 

Awful Plot (An) Ethiopian farce, la. 3 1 
Baby Elephant, sketch, 2 scenes.. .. 7 1 
Bad Whiskey, Irish sketch, 1 scene. 2 1 
Barney’s Courtship, musical inter¬ 
lude, 1 act . 1 2 

Big Mistake, sketch, 1 scene . 4 

Black Chap from Whitechapel, Ne¬ 
gro piece . 4 

Black Chemist, sketch, 1 scene .... 3 
Black-Ev’d William,sketch,2 scenes 4 1 
Black Forrest (Tho),Ethiopian farce, 

1 act. .. 2 1 

Black Magician (De),Ethiopian com¬ 
icality. 4 2 

Black Statue (The), Negro farce.4 2 

Blinks and Jinks, Ethiopian sketch. 3 1 
Boboliuo, the Black Bandit, Ethio¬ 
pian musical farce, 1 act . 2 1 

Body Snatchers (The),Negro sketch, 

2 scenes. 3 1 

Bogus Indian, sketch, 4 scenes . 5 2 

Bogus Talking Machine (The), farce, 

1 scene . 4 

Bruised and Cured, sketch, 1 scene. 2 
Charge of the Hash Brigade, comic 

Irish musical sketch . 2 2 

Christmas Eve in the South, Ethio¬ 
pian farce, 1 act.6 2 

Coal Heaver’s Revenge,Negro sketch, 

1 scene . 6 

Coming Man (The). Ethiopian sketch, 

2 scenes. 3 1 

Cremation, sketch, 2 scenes. 8 1 

Crowded Hotel (The), sketch, 1 sc.. 4 1 

Cupid’s Frolics, sketch, 1 scene_5 1 

Daguerreotypes, sketch, 1 scene.... 3 
Damon and Pythias, burlesque, 2 sc. 5 1 
Darkey’s Stratagem, sketch, 1 scene 3 1 
Darkey Sleep Walker (The), Ethio¬ 
pian sketch, 1 scene.V.. 3 1 


124, 

111 . 


139. 

50. 

64. 

95. 


67. 

4. 

133. 

98. 

52. 

25. 


88 . 

51. 

152. 


106. 


83. 

77. 


17. 

58. 

31. 

20 . 

82. 

130. 


86 . 

70. 

61. 

142. 


23. 

118. 


3. 

48. 

68 . 

150. 

71. 

123 


M. F, 

Deaf as a Post, Ethiopian sketch.... 2 
Deeds of Darkness, Ethiopian ex¬ 
travaganza, 1 act. 6 4 

Desperate Situation (A), farce, 1 sc. 5 2 

Draft (The), sketch, 2 scenes. 6 

Dutchman’s Ghost, 1 scene. 4 1 

Dutch Justice, laughable sketch, 

1 scene.H 

Editor’s Troubles, farce, 1 scene.. . 6 

Eh? What is it? sketch. 4 1 

Election Day, Ethiopian farce, 2 sc. 6 1 
Elopement (The), farce, 2 scenes... 4 1 

Excise Trials, sketch, 1 scene.10 1 

Fellow that Looks like Me, inter¬ 
lude, 1 scene.2 1 

First Night (The), Dutch farce, 1 act 4 2 
Fisherman’s Luck, sketch, 1 scene. 2 
Fun in a Cooper’s Shop, Ethiopian 

sketch. 6 

Gambrinus, King of Lager Beer, 
Ethiopian burlesque, 2 scenes.... 8 1 

German Emigrant (The),sketch,lsc. 2 2 

Getting Square on the Call Boy, 

sketch, 1 scene. 3 

Ghost (The), Sketch, 1 act. 2 

Ghost in a Pawn Shop, sketch. 1 sc. 4 

Glycerine Oil, sketch, 2 scenes.3 

Going for the Cup, interlude. 4 

Good Night’s Rest, sketch, 1 scene. 3 
Go and get Tight, Ethiopian sketch, 

1 scene. 6 

Gripsack, sketch, 1 scene. 3 

Guide to the Stage, sketch. 3 

Happy Couide, 1 scene. 2 1 

Happy Uncle Rufus, Ethiopian mu¬ 
sical sketch, 1 scene. 1 1 

Hard Times, extravaganza. 1 scene. 5 1 

Helen’s Funny Babies, burlesque. 

1 act. 6 

Hemmed In. sketch. 3 1 

High Jack, the Heeler, sketch, 1 sc. 6 

Hippotheatron, sketch. 9 

How to Pay the Rent, farce, 1 scene 6 

In and Out, sketch. 1 scene. 2 

Intelligence Office (The), Ethiojaian 
sketch, 1 scene. 2 


The 


1 




































































NUMBER TWO. 


A LIVELY FARCE, 

IN ONE ACT. 


BY 



AUSTIN FRIARS. 


5 


!> 


TOGETHER WITH 

▲ DESCRIPTION OF THE COSTUMES—CAST OF THE CHARACTERS_ 

ENTRANCES AND EXITS-RELATIVE POSITIONS OF THE 

PERFORMERS ON THE STAGE, AND THE WHOLE OF 
THE STAGE BUSINESS. 



NEW YORK: 

1)E WITT, PUBLISHER, 

No. 33 Rose Street. 


Copyright, 1884, by A. T. B. Dl WlTfi 





2 


NUMBER TWO. 



CAST OF CHARACTERS. 


Mr. Grundlebury. 

Tom Robinson, an Actor. 
Mrs. Grundlebury. 


TIME OF PLAYING—TWENTY-FIVE MINUTES. 


SCENERY. 


SCENE—Room in Gundlebury’s House. Window in Flat. Entrances R. and h. 


COSTUMES. 


Mr. Grundlebury —Gentleman’s ordinary walking suit. 

Tom Robinson —First dress: neat walking suit; second dress: semi - military ar- 
tire ; buttoned-up, blue frock coat, black trousers, with gold cord down outside 
seams ; fatigue cap. All having a shabby appearance. 

Mrs. Grundlebury —Rich afternoon attire. 


PROPERTIES. 


Door-bell, to ring; long, tawny whiskers, patch for right eye, sling for arm, for 
Tom Robinson. 


STAGE DIRECTIONS. 


R. means Right of Stage, facing the Audience; L. Left; C. Centre; R. C. Right 
of Centre; L. C. Left of Centre. D. F. Door in the Flat, or Scene running across 
the back of the Stage; C. D. F. Centre Door in the Flat; R. D. F. Right Door in 
the Flat; L. C. F. Left Door in the Flat; R. D. Right Door; L. D. Left Door: 1 E. 
First Entrance; 2 E. Second Entrance; U. E. Upper Entrance; 1, 2 or 3 G. First, 
Second or Third Groove. 

R. R. C. C. L. C. L. 

BP’Tlie reader is supposed to be upon the stage facing the audience. 


TMP92-Q09293 







NUMBER TWO 


SCENE .—Room in Grundlcbury’s House. Window in f. Entrances 
r. and l. Tables, Chairs, Sofa, fc. Grundlebury discovered 
pacing the stage. 

Grundlebury. Pretty pass for a man to be hectored in this way 
by the woman he has made his wife! If I do this, it’s wrong; If I 
don’t do it, why didn’t I ?—that’s how she goes on from morning to 
night. There’s no pleasing her. Yet I could stand it all but for her 
eternal praises of “her poor dear George,—her poor dear ‘first.’” 
That’s how she looks at us, and I daresay she’s anticipating the time 
when she can tick off the fingers of one hand to Christian names. No. 
1, George; No. 2, that’s me, and if this kind of thing continues, 
there’ll soon be a vacancy for No. 3. (Bell rings.) Who’s that? 

(Voice without, r. ) In here, do you say ? Never mind, I’ll make my 
way. Here we are. 


Enter Robinson, r. 

Grun. Tom! 

Rob. Yes, old boy, and as hearty as ever; how’s yourself? ( Shak¬ 
ing hands.) 

Grun. Don’t ask me. Can’t you see a sonata of compounded mis¬ 
ery in the lines of my face ? 

Rob. Well, I can’t say I can—but I was never much of a musician, 
so you’ll have to spin out the yarn yourself, if you want me to know 
what you mean. 

Grun. Ah! it’s a miserable tale, Tom, and I daresay I look miser¬ 
able enough too, only you don’t like to say it. 

Rob. Well, you do look a miserable object, if you want me to say 
it ; but as to reading the lines on your face, I might as well try to 
decipher the hieroglyphics on Cleopatra’s Needle. 

Grun. Ah! you actors are always looking after the points—ha, ha, 
ha! 

Rob. There! There’s the man that wants to make me believe he’s 
miserable. W T hy the only thing that I see miserable about you is 
your attempt at a joke. 



4 


NUMBER TWO. 


Grun. Ah! Tom, I can’t help it. You bring to my mind the old 
happy days of puns and punch and deviltry. 

Rob. Well, let me hear the story: perhaps a little puns and punch 
and deviltry might get rid of your misery for you. 

Grun. It’s more serious than that, Tom. 

Rob. What is it, then ? Have you fallen out with your old aunt 
who’s got a fortune to leave ? 

Grun. No. 

Rob. Well, what then ? 

Grun. I’ve married. 

Rob. The Devil! 

Grun. No; a widow. 

Rob. Ha, ha, ha! Well that’s a good hit. 

Grun. {Angrily.) Glad you think so. Thank you. 

Rob. Come, Harry, old fellow, don’t get vexed. I didn’t mean any¬ 
thing. Let’s know all about it, and I’ll see what can be done. 

Grun. If you see anything that can be undone, I’ll be mightily 
obliged to you. 

Rob. Of course I can. You just let me know your grievance, and 
I’ll set it right in a jiffy. 

Grun. I thought her a paragon, Tom, of all the womanly virtues, 
and when she told me she never knew what love was till she met me, 
I coudn’t resist her, but just kissed her, and asked her to be my wife. 

Rob. Well. 

Grun. Well, she consented, and in the first quarter of the honey¬ 
moon began finding fault with everything I did, and quoted her first 
husband as a model of perfection. 

Rob. Ah ! I know her. 

Grun. Do you, indeed ? 

Rob. That is, I know lots of women like her. And now I’ve got 
your case in a nutshell. You’ve married a widow, and she so praises 
her first husband, in and out of season, that you wish the poor man 
had never died. 

Grun. Now you’ve got it. 

Rob. You don't know the sex; this is a sign that she loves you as 
dearly as it’s possible for a woman to love a man. 

Grun. You don’t say so f 

Rob. Fact—can prove it. She is so afraid that you wont love her 
enough, that she thinks the best way to increase your love is by im¬ 
pressing on you your own unwortliiness. This she tries to do by con¬ 
tinually reminding you that a much better man than you can ever 
hope to be, viz: her first husband, loved her to distraction, and 
therefore, you ought to be ready to worship the ground she walks on. 

Grun. Well, that’s a very good idea, but I don’t see much comfort 
in it. 

Rob. I told you I’d help you out of the difficulty. 

Grun. You did, but- 

Rob. “But me no buts,” as I daresay Shakespeare has said some¬ 
where ; I have said I will help you out of your scrape. I will. I’ve 
got a plan; It’s in my valise outside. 

Grun. Rubbish! 

Rob. Well, it isn’t much more, for it’s merely my theatrical ward¬ 
robe. Trade’s bad just now, and I’m giving entertainments ; “ Peo¬ 
ple About Town,” and all that kind of thing. Now, when did your 
—your predecessor die ? 




NUMBER TWO. 


5 


Grun. During the time Perkins and Gordon were leaders in the 
Chinese war. 

Rob. Good. Where is he buried ? 

Grun. Somewhere out under the Bohea bushes. He left no money, 
so they planted him where he’d do the most good. 

Rob. Good! It’s as clear as daylight. I’ll dress up as No. 1, and if 
I don’t make it easy for you for the rest of your life, call me a dunce. 

Grun. I daresay I will. 

Rob. Oh! no you wont.. When I frighten Mrs. Grundlebury with 
just the possibility of her losing you, she’ll be quiet for the rest of 
her life. 

Grun. She’ll just laugh at you for your pains. She has plenty of 
proof that he is dead. 

Rob. What is proof to a woman ? You just give me a few partic¬ 
ulars and I’ll start the game. In the first place, what was her hus¬ 
band’s name ? 

Grun. George. 

Rob. Good. What was the color of his hair ? 

Grun. Brown. 

Rcb. Good. Now, what is her name ? 

Grun. Jemima. 

Rob. Just one thing more. Where was she living ? 

Grun. At Brooklyn. 

Rob. Splendid. Now, you just let me have a room to rig myself 
out in, then manage to leave her here by herself. You listen out¬ 
side, and when I cough hard three times, come in. 

Grun. Very well, I’m agreeable. It will be rather amusing to see 
someone else come in for a little of the power of her tongue. 

(Voice without.) Henry! Henry! 

Grun. That’s Mrs, Grundlebury. 

Rob. I’ve no doubt of it. Lead on, I’ll follow thee. (Exeunt L. 

Enter Mrs. Grundlebury, r. 

Mrs. G, Where are you ? Not here. Ran away when he heard 
me coming. Well, I never thought I could have become such a ty¬ 
rant as—well I must confess it—as I am. When George was alive, 
I often wished for a quiet life, and to have an end of his horrid, com¬ 
plaining temper; and now that I have a quiet life and a husband 
who would love me if I would only let him, I torment him to death. 
I’m sorry for it, but I can’t help it. Still, I must try and treat him 
better. 


Enter Grundlebury, l. 

Well, Henry, have you sent James for those patterns to Smith¬ 
son’s ? 

Grun. Patterns! I’m blessed if I haven’t quite forgotten all about 

them. , . 

Mrs. G. Quite forgotten all about them! Was there ever such a 
man? Didn’t I tell you I wanted them particularly? How can I 
write to Mrs. Tumbleville without them ? But you dou’t care. Poor 
dear George, when he was alive, didn’t want to have my wishes 
drummed into his ears. 

Grun. Neither do I. 


6 


NUMBER TWO. 


Mrs. G. Hold your tongue, sir. Poor George used to anticipate 
my wishes- 

Grun. So will I, Madam. You’ll wish me out of the room present¬ 
ly. I anticipate that wish. An revoir. {Exit r. ) 

Mrs. G. I never saw him so cool before. I’d better be careful or 
he’ll defy me. (An uncertain step , like that of a man with an artificial 
leg , is heard approaching .) Good heavens ! who can this be ? 

(Voice without.) In there, you say, Very well, that will do, thank 
you. 

Enter Rob., l., dressed in an old uniform. He carries Ids right arm in 
a sling, and wears a patch over his light eye. His face is dark¬ 
ened as though from exposure to the sun, and he wears long tawny 
whiskers. He walks as though his right leg teas artificial. 


Rob. Jemima! 

Mrs. G. Sir! 

Rob. (Clasping her in liis left arm.) Jemima! this to me ! 

Mrs. G. To you, sir! Who are you, sir ? 

Rob. Who am I, Jemima? Oh, Jemima, think of the happy hours 
we spent in our quiet little house at Brooklyn, and don’t break my 
heart. 

Mrs. G. (Agitated.) Wo spent! What do you mean? 

Rob. Oh! Jemima, look in my face and see if you can’t find that 
last kiss you gave me, hiding away under the tan of an eastern sun. 

Mrs. G. Kiss I gave you! If you do not instantly tell me who you 
are, I’ll have you kicked from the house for a tramp. 

Rob. I’ve tramped far enough to find you. Oh! Jemima do not 
play with my feelings. Is this the reception I ought to receive after 
my long absence and the valor I displayed under the fire of a Chinese 
sun and a savage enemy ? 

Mrs. G. Who are you ? 

Rob. Who am I, Jemima! Look at this mole on the back of my 
neck and tell me who I am. (Mrs. G. turns away.) Bring to your 
mind that evening when one who loved you—who loves you now, Je¬ 
mima !—brought home a bracelet to you, and you in fun turned up 
the sleeve of his coat to try it on his arm, and there beheld a trade¬ 
mark—birth-mark I mean—a strawberry with a blue stem. (Taking 
his arm out of the sling hastily.) Look here, Jemima. Look here, Je¬ 
mima. Turn up this sleeve and you will see the identical strawberry. 
(Aside—putting his arm hastily in the sling.) It must be the other arm 
though. (Aloud.) Who am I now, Jemima ? 

Mrs. G. (Agitated.) Good heavens ! You are not- 

Rob. I am, Jemima. Joy! Joy! I am your long-lost husband. 

Mrs. G. Stand back, or I’ll scream. 

Rob. Jemima, what do you mean? 

Mrs. G. My husband didn’t have a straw-colored beard. 

Rob. The hot sun of China, Jemima. You know what poets say 
about golden hair hiding all the stray sunbeams and the like. There 
were so many knocking about out there that I daresay I haven’t 
combed them all out yet. 

Mrs. G. But then your face, your voice- 

Rob. The sun, Jemima. 

Mrs. G. Your leg? 

Rob. The enemy, Jemima. But that’s no blemish, it’s what many 
a gallant man is sighing for. Splendid invention—cork leg. A reg- 






NUMBER TWO. 


ular testimonial to a man’s valor, and quite an additional dignity to 
ms gait, bee ( walking ) I never could do that before. Besides it’s 
awfully handy. \ou can tread on the corns as much as ever you 
like, and it’s a splendid preventative of hydrophobia. It’s my very 
proudest possession, quite unique. Just run in a pin till you see. 
Twont hurt me in the least. Have you got one ? 

Mrs. G. Ugh! ‘ 

Rob. Run in a pin, you’ll be quite amused. Think I’m going to 
scream—not I. Just see. 

Mrs. G. How did you escape? 

Rob. I didn t escape, and that’s why I’m here. I was taken pris¬ 
oner because my leg was broken and I couldn’t run awav. 

Mrs. G. (Aside.) Can it be true that this is my first husband? 
He knows me, calls me Jemima, I should not have recognized him. 
(Aloud.) How did you know I was here ? 

Rob. My heart, Jemima- 

Mrs. G.‘ Your fiddlestick ? How did you find me ? 

Rob. I was walking along on the opposite side of the street, the 
people all standing to admire my leg—I am proud of it, Jemima—run 
in a pin, will you ?—very well, never mind—I was walking, as I said, 
the other side of the street, and chancing to look up, I saw vou, and 
of course, / recognised you instantly. Oh ! the joy of that moment. 

Mrs. G. (Aside.) Oh! dear, what will become of me. (To Rob. 
You wretch, why did you come here ? 

Rob. Well, Jemima, there wasn’t much use going to Brooklyn, 
when you- 

Mrs. G. Hold your tongue, I - 

Rob. (In a military rage.) This to me, ma’am. I hold my tongue, 
ma’am! How dare you talk to your husband in that manner? Who’s 
master, I’d like to know ? 

Mrs. G. (Throwing herself on the sofa, crying.) Oh! dear, oh .’dear, 
what shall I do ? 

Rob. What shall you do, ma’am ? Do what you ought to do. Just 
dry your eyes, smarten yourself up, and say you are glad to see me, 
and tell me what you’ve been doing while I’ve been away. 

Mrs. G. What I’ve been doing? Oh! I can’t, I can’t. O! give me 
my hat and I w r ill go home to my mother. I can’t stop here—I will 
never stop with you. 

Rob. Not stop with me, Jemima! What do you mean? Come, 
come, I didn’t mean to be cross. We will go back, Jemima, to our 
old house at Brooklyn, for I’m very fond of it. By Jove though, won’t 
the girls stare ? They’ll shout w r hen they see me coming—here comes 
the—oh! that devilish pain, I forget that this arm is in a sling till I 
get one of those gentle reminders. But I say won’t they stare when 
they see the patch, the sling, and the leg ? But they’re all on the 
right side, eh ? Ha, ha, ha. We’ll be all the rage at Brooklyn,- Jemi¬ 
ma ; there’s nothing so popular as the military man, and when they 
learn I've been to China, and see me walk—Jemima, you can’t tell 
how proud I am of this leg. Beautiful cork, light as a feather. The 
cork has become a veritable tree—a boot-tree, ha, ha, ha. But now, 
Jemima, let us talk sensibly, tell me all about yourself, and how 
; ou’ve been living, or I’ll start and relate my adventures. Shall I 
fell you how I got this leg? 

Mrs. G. Don’t talk of that horrid leg, I hate to hear about it. 

Rob. Only for fun, you know. 

Mrs. G. Ugh! Don’t speak of it. 






3 


NUMBER TWO. 


Rob. Ah! I understand! sensitive feelings injured by anxiety— 
shock to the system—all right by-and-by though, Jemima, and then 
you’ll be as proud of it as I am. 

Mrs. G. Yes, yes. 

Rob. Bound to. And now won’t you give me one kiss ? Come, 
that’s right. 

Mrs. G. Don’t, don’t, I can’t. 

Rob. Not to your husband? Don’t jump about, love, or you’ll in¬ 
jure my arm. Stand so. Why do you tremble. (Coughs three times.) 
Mere nervousness, you know. (Embraces her with left arm , and kisses 
her.) Enter Grundlebury, l.) Hallo! Jemima, who is this ? 

Grun. And, hallo, sir, who are you ? 

Mrs. G. (Confused.) Henry, this—this is—my brother. 

Rob?" j Brother! 

Mrs. G. (More confused.) I—I mean my cousin. 

Grun. I never knew you had one. 

Rob. Neither did I. 

Mrs. G. (Making a warning gesture at Robinson.) I—I never spoke 
of him. He has travelled. 

Grun. Oh! Well, Jem, I hope he will stay with us awhile. (Put¬ 
ting his arm round her waist.) I have sent James for those patterns, 
and I told him to call in at the library- 

Rob. (catching Mrs. G. by the sleeve.) Here, I say, you know - 

Mrs. G. Go away. Sit down. 

Rob. What do you mean, ma’am ? Come and sit with me. 

Grun. Your cousin is rather forward, Jemima. (Looking at Rob¬ 
inson.) But even cousins should know how to respect a lady. 

Rob. Respect, be hanged- 

Grun. Sir, do you-? 

Mrs. G. (Crying.) Oh dear, they’ll kill me, they’ll kill me. You 
are both bad men. 

Grun. ^ My 


Rob. 


dear- 


Grun. How dare you address my wife as “your” dear ? 

Rob. You impertinent scoundrel, how dare you call my wife your 
dear ? 

Grun. Your wife, sir! Are you mad? 

Rob. Y r ou are, sir. Ask the lady if you don’t believe me. Ask my 
wife, sir. 

Grun. What does it all mean, Jemima? 

Rob. Aye! What does it all mean ? I should like to know. 

Mrs. G. (Hysterical.) Oh! Henry! I—I— (Cries.) 

Grun. Control yourself, dear. 

Mrs. G. I— I don’t know what to do. I thought I was a —a widow 
when I married you. (Cries.) 

Grun. Thought you were a widow, Jemima! 

Mrs. G. Yes—yes. But I wasn’t. There—lie—he is. (Cries.) 

Grun. He ? 

Rob. Yes he. The veritable he—the hero. And do you mean to 
say, Jemima, that you’ve married this man ? 

Mrs. G. Yes. I—I thought you were dead. 

Grun. Oh! darling, what shall I do ? 

Mrs. G. And what shall I do ? I cannot live from you, and to go 
to that—with—the cork leg. 







NUMBER TWO. 9 

Rob. Perfection, madam, simply perfection. (To Grundlebury.) 
Just run in a pin will you ? You’ll be surprised. 

Grun. Darling, I often regretted marrying you, when you plagued 
my life with your reiterated praise of your first husband, but now— 

Mrs. G. Oh! darling, I was a fool, I only did it to make you jeal¬ 
ous. But I loved you better than I ever did him. 

Grun. My darling! And if we were free now ? 

Mrs. G. Oh! Henry. Now that it is too late I can see my folly. 
I would be a true and really loving wife, Henry, if only I had the 
power. 

Rob. ( Pulling off his disguise.) That power, good lady, I hereby 
bestow on you. 

Mrs. G. Not my husband! 

Grun. No, Jem, but my very good friend and very good actor— 
Tom Robinson— 

• Rob. Now visiting this city with an entertainment invented and 
given entirely by himself, entitled “People About Town,” which has 
not received the unqualified approval of Matthew Arnold, the Corean 
Ambassadors, and the Queen of the Cannibal Islands, but which 
would undoubtedly, receive the highest commendations from these 
august personages, if they, in common with the enlightened inhabit¬ 
ants of this neighborhood, had had the pleasure and opportunity of 
witnessing- 

Mrs. G. ( Bewildered .) But—but— 

Rob. You must pardon, madam, our little ruse. Your husband told 
me he was perfectly sick of his position as “Number Two,” and sick 
of hearing the continual praises of “ Number One,” and I undertook 
to prove to him, that you love him better than all others on earth. 
Now that you are both convinced that you were made for each other, 
there is no earthly reason why you should not be happy as the day 
is long, and call Tom Robinson your best friend from this time forth 
for evermore. 

Mrs. G. And believe me, Tom—shall I call you Tom? 

Rob. If you want to make me the happiest mortal on earth. 

Mrs. G. Believe me, Tom, I am very thankful to you, and confess 
with all due humility, that I richly deserved the trick you played me. 

Grun. I can only say, Tom, that your giving w.e my own little wifie 
again, hasn’t strengthened our friendship one iota, because that is 
impossible. 

Rob. You’ve made me as happy as you are yourselves, and in fact 
I may say, we are a happy family. 


CURTAIN. 







jgg- riease notice that nearly all the Comedies, Farces and Comediettas in the following 
List of “De Witt’s Acting Plays” are very suitable for representation in small Amateur 
Theatres and on Parlor Stages, as they need but little extrinsic aid from complex scenery 
or expensive costumes. They have attained their deserved popularity by their droll situa¬ 
tions. excellent plots, great humor and brilliant dialogues, no less than by the fact that 
they are the most perfect in every respect of any edition of plays ever published either in 
the United States or Europe, whether as regards purity of text, accuracy and fullness of 
stage directions and scenery, or elegance of typography and clearness of printing. 

*** Iu ordering please copy the figures at the commencement of each piece, which 
indicate the number of the piece in *’ De Witt's List of Acting Plays.” 

Any of the following Plays sent, postage free, on receipt of price —Fifteen Cents 

each. 

,0“ The figure following the name of the Play denotes the number of Acts. The 
figures in the columns indicate the number of characters—M. male: F. female. 


M. F. 


75. Adrienne, drama, 3 acts. 7 3 

231. All that Glitters is not Gold, comic 

drama, 2 acts .6 3 


308, All on Account of a Bracelet, come¬ 
dietta, 1 act. 2 2 

114 Anything for a Change,comedy. 1 act 3 3 

IOC Apple Blossoms, comedy, 3 acts. ..7 3 
03. Area Belle, farce, I act.3 2 

40. Atchi, comedietta, 1 act.... . 3 2 

89. Aunt Charlotte’s Maid, farce, 1 act. 3 3 

258. Aunt Dinah’s Pledge, temperance 

drama, 2 acts..G 3 

237. Bachelor's Box (La Petite Hotel), 

comedietta, 1 act . 4 1 

160. Bardell vs. Pick Wick, sketch. 1 act. 0 2 
310. Barrack lloom (The), comedietta,2a. 6 2 

41. Beautiful Forever, farce, 1 act. 2 2 

141. Bells (The), drama, 3 acts.9 3 

223. Betsey Baker, farce, 1 act.2 2 

67. Birthplace of Podgers, farce, 1 act.. 7 3 

36. Black Sheep, drama, 3 acts .7 5 

279. Black-Eyed Susau, drama. 2 acts. ..14 2 

296. Black and White, drama, 3 acts- 6 3 

160. Blow for Blow, drama, 4 acts.11 6 

179. Breach of Promise, drama, 2 acts.. 5 2 
25. Broken-Hearted Club, comedietta.. 4 8 

70. Bonnie Fish Wife, farce, 1 act. 3 1 

261. Bottle (The), drama, 2 acts.11 6 

226. Box and Cox, Romance.^ act.2 1 

24. Cabman No. 93, farce, 1 avt. 2 2 

199. Captain of the Watch, comedietta, 

1 act. 6 2 

1. Caste, comedy, 3 acts. 5 3 

175. Cast upon the World, drama, 5 acts.11 5 
55. Catharine Howard, historical play, 

3 acts .12 5 

63. Caught by the Cuff, farce, 1 act_ 4 1 

80. Charming Pair, farce, 1 act.4 3 

65. Checkmate, comedy, 2 acts. G 5 

68. Chevalier de St. George, drama, 3a. 9 3 
219. Chimney Corner (The), domestic 

drama, 3 acts. 5 2 

76. Chops of the Channel, farce, 1 act.. 3 2 
205. Circumstances alter Cases, comic 

operetta, 1 act. 1 1 

149. Clouds, comedy, 4 acts. 8 7 

121. Comical Countess, farce, 1 act.3 1 


M. F. 

222. Cool as a Cucumber, farce, 1 act_ 3 2 

248. Cricket ou the Hearth, drama, 3 acts 8 6 


107. Cupboard Love, farce, 1 act...... 2 1 

152. Cupid's Eye Glass, comedy, 1 act.. 1 1 

52. Cup of Tea. comedietta, 1 act. 3 1 

148. Cut Olf with a Shilling, comedietta, 

1 act.. 2 1 

113. Cyril's Success, comedy, 5 acts_10 4 

20. Daddy Gray, drama, 3 acts. 8 4 

286. Daisy Farm, drama. 4 acts.10 

4. Dandelion’s Dodges, larce, 1 act... 4 2, 
22. David Garrick, comedy, 3 acts.8 3 


275. Day After the Wedding, farce, 1 act 4 2 
96. Dearest Mamma, comedietta, 1 act.. 4 3 
16. Dearer than Life, drama, 3 acts.... 6 5 

58. Deborah (Leah), diama, 3 acts.7 6 

125. Deerfoot, farce, 1 act.. .5 1 

71. Doing for the Best, drama, 2 acts.. 5 3 
142. Dollars and Cents, comedy, 3 acts.. 9 4 
204. Drawing Boom Car(A).comedy, 1 act 2 1 

21. Dreams, drama, 5 acts.. ..6 3 

260. Drunkard’s Warning, drama, 3 acts 6 3 
210. Drunkard’s Doom (The), drama, 2a,15 5 

263. Drunkard (The), drama, 5 acts.13 5 

186. Duchess de la Valliere play, 5 acts.. 6 4 

242. Dumb Belle (The), farce, 1 act.4 2 

47. Easy Shaving, farce, 1 act.5 2 

283. E. C B. Susan Jane, musical bur¬ 
lesque, 1 act.. 8 1 

202. Eileen Oge, Irish drama, 4 acts.11 3 

315. Electric Love, farce, 1 act. 1 1 

297. English Gentleman (An), comedy- 

drama, 4 acts.. 7 4 

200. Estranged, operetta. 1 act . 2 1 

135. Everybody's Friend, comedy. 3 acts 6 5 
230. Family Jars, musical farce, 2 acts.. 5 2 
103. Faust and Marguerite, drama, 3 acts 9 7 
9. Fearful Tragedy in the Seven Dials, 


interlude, 1 act. 4 1 

12S. Female Detective, drama, 3 acts_11 4 

101. Fernande, drama. 3 acts.11 10 

99. Fifth Wheel, comedy, 3 acts.10 2 

262. Fifteen Years of a Drunkard’s Life, 

melodrama, 3 acts..13 4 

145. First Love, comedy, 1 act.4 1 

102. Foiled, drama, 4 acts. 9 3 

88. Founded ou Facts, farce, 1 a«t. 4 2 















































/ 

f 

DE WITT’S ACTING- PLAYS.—Continued.' 

- O -- 


M. F. 

259. Fruits of the Wine Cup, drama, 3 cts 6 3 
192. Game of Cards (A), comedietta, la.. 3 1 
71. Garrick Fever, farce, 1 act. 7 4 

63. Gertrude’s Money Box, farce, 1 act. 4 2 

73. Golden Fetters (Fettered), drama, 3.11 4 

30. Goose with the Golden Eggs, farce, 

1 act... 5 3 

131. Go to Putney, farce, 1 act . 4 3 

276. Good for Nothing, comic drama, la. 5 1 
305. Great Success (A), comedy, 3 acts.. 8 5 

277. Grimshaw, Bagshaw and Bradshaw, 

farce, 1 act.4 2 

208. Heir Apparent (The), farce, 1 act... 5 1 

241. Handy Andy, drama, 2 acts.10 3 

28. Happy Pair, comedietta, 1 act. 1 1 

151. Hard Case (A), farce, 1 act. 2 

8. Henry Dunbar, drama, 4 acts.10 3 

180. Henry the Fifth, hist, play, 5 acts..38 6 
303. Her Ouly Fault, comedietta, 1 act.. 2 2 

19. He’s a Lunatic, farce. 1 act. 3 2 

60. Hidden Hand, drama, 4 acts. 5 5 

191. High C, comedietta, 1 act.3 3 

246. High Life Below Stairs,farce.2 acts. 9 5 
301. Hiuko, romantic drama, 6 acts.12 7 

224. His Last Legs, farce, 2 acts.. 5 3 

187. His Own Enemy, farce, 1 act. 5 1 

174. Home, comedy. 3 acts. 4 3 

211. H mesty is the Best Policy, play, 1. 2 

64. Household Fairy, sketch, 1 act. ... 1 1 

190. Hunting the Slippers, farce. 1 act.. 4 1 
197. Hunchback (The), play, 5 acts.13 2 

225. Ici on Parle Fraucais, farce, 1 act... 3 4 

252. Idiot Witness, melodrama, 3 acts... 6 1 

18. If I had a Thousand a Year, farce, 1 4 3 
116. I’m not Mesilf at all, Irish stew, la. 3 2 

29. In for a Holiday, farce, 1 act. 2 3 

j.59. In the Wrong House, farce, 1 acr..-. 4 2 

278. Irish Attorney (The), farce, 2 acts.. 8 2 
282. Irish Broom Maker, farce, 1 act.... 9 3 

273. Irishman in London, farce, 1 acts.. 6 3 

243. Irish Lion (The), farce, 1 act.. 8 3 

271. Irish Post (The), drama, 1 act. 9 3 

244. Irish Tutor (The), farce, 1 act . 5 2 

270. Irish Tiger (The), farce, 1 act. 5 1 

274. Irish Widow (The), farce, 2 acts_ 7 1 

122. Isabella Orsiui, drama, 4 acts.11 4 

177. I Shall Invite the Major, comedy, 14 1 

100. Jack Long, drama, 2 acts.9 2 

299. Joan of Arc, hist, play, 5 acts.26 6 

139. Joy is Dangerous, comedy, 2 acts.. 3 3 

17. Kind to a Fault, comedy, 2 acts.... 6 4 

233. Kiss in the Dark (A), farce, 1 act_ 2 3 

309. Ladies’ Battle (The), comedy, 3 acts 7 2 


86. Lady of Lyons, play, 5 acts.12 5 

137. L’Article 47, drama, 3 acts.11 5 

72. Lame Excuse, farce, 1 act. 4 2 


144. Lancashire Lass, melodrama,4 acts.12 3 
34. Larkins’ Love Letters, farce. 1 act..3 2 
189. Leap Year, musical duality, 1 act— 1 1 

253. Lend Me Five Shillings, farce, 1 act 5 3 

111. Liar (The), comedy, 2 acts. 7 2 

119. Life Chase, drama, 5 acts.14 5 

239. Limerick Bov (The), farce. 1 act- 5 2 

48. Little Annie’s Birthday, farce, 1 act.,2 4 

32. Little Rebel, farce, 1 act . 4 3 , 

164. Little Ruby, drama. 3 acts.6 6 

295. Little Em’ly, drama, 4 acts.8 8 | 

165. Living Statue (The), farce, 1 act-3 2 j 

228. Loan of a Lover (The), vaudeville,1. 4 1 I 


109. Locked in, comedietta, 1 act. o’ < 

85. Locked in with a Lady, sketch. 1 1 

87. Locked Out, comic scene. 1 a 

143. Lodgers and Dodgers, iarce, 1 act.. 4 2 

212. Loudon Assurance, cometty, 6 acts. 10 3 

291. M. P.. comedy, 4 a< ts. ^ 2 

210. Mabel's Manoeuvre, interlude, 1 act 1 3 

103. Marcoretti. drama, 3 acts.10 3 

104. Maria and Jiagdaleua, play, 4 acts.. 8 C 
63. Marriage at any Price, farce, 1 act.. 5 3 

249. Marriage a Lottery, comedy, 2 acts. 3 4 
208. Married Bachelors, comedietta, la.. 3 2 

39. Master Jones’ Birthday, farce, 1 act 4 2 

7. Maud’s Peril, drama, 4 acts. 5 3 

49. Midnight Watch, drama, 1 act.8 2 

15. Milky White, drama, 2 acts. 4 2 

46. Miriam’s Crime, drama, 3 acts.5 2 

51. Model of a Wife, iarce, 1 act. 3 2 

302. Model Pair (A), comedy, 1 act.2 2 

184. Money, comedy, 5 acts. 17 3 

250. More Blunders than One, farce, la. 4 3 
312. More Sinned against than Sinning, 

original Irish drama, 4 acts.11 

234. Morning Call (A), comedietta, 1 act. 1 1 

108. Mr. Scroggins, iarce, 1 act. 3 3 

188. Mr. X., farce. 1 act. 3 3 

169. My Uncle’s Suit, farce, 1 act.4 1 

216. My Neighbor's Wife, farce, 1 act_3 3 

236. My Turn Next, farce, 1 act. 4 3 

193. My Walking Photograph, musical 

duality, 1 act. 1 1 

267. My Wife's Bonnet, farce, 1 act. 3 4 

130. My Wife’s Diary, farce, 1 act. 3 1 

92. My Wife’s Out, farce, 1 act..2 2 

218. Naval Engagements, farce, 2 acts. ..4 2 
140. Nev»r Reckon your Chickens, etc., 

farce. 1 act. 3 4 

115. New Men and Old Acres, comedy, 3 8 6 

2. Nobody’s Child, drama, 3 acts.18 3 

57. Noemie, drama, 2 acts. 4 4 

104. No Name, drama, 6 acts. 7 5 

112. Not a bit Jealous, farce, 1 act.3 3 

298. *Not if I Know it, iarce, 1 act. 4 4 

185. Not so bad as we Seem, play, 5 acts.?3 3 

84. Not Guilty, drama. 4 acts.10 6 

117. Not such a Fool as he Looks, drama, 

3 acts. 5 4 

171. Nothing like Paste, farce, 1 act_ 3 1 

14. No Thoroughfare, drama, 5 acts_13 6 

300. Notre Dame, drama, 3 acts.11 8 

269. Object of Interest (An), farce, 1 act. 4 3 

268. Obstinate Family (The), farce, 1 act. 3 3 

173. Off the Stage, comedietta, 1 act_ 3 3 

227. Omnibus (The), farce, 1 act.5 4 

176. Ou Bread and Water, farce, 1 act... 1 2 

254. One Too Many, farce. 1 act. 4 2 

33. One Too Many for Him, farce, 1 act 2 3 

3. £100,000. comedy, 3 acts. 8 4 

90. Only a Hnlipennv. farce, 1 act. 2 2 

170. Only Somebody, farce, 1 act. 4 2 

289. On the Jury, drama, 4 acts. 5 5 

97. Orange Blossoms, comedietta, 1 act 3 3 

66. Orange Girl, drama. 4 acts.18 4 

209. Othello, tragedy, 5 acts.16 2 

172. Ours, comedy, 3 acts.. 6 3 

94. Our Clerks, farce. 1 act . 7 5 

45. Our Domestics, comedy-farce, 2acts 6 6 

155. Our Heroes, military play, 5 acts...24 5 
178. Out at Sea, drama, 6 acts....17 6 





































































DE WITT’S ACTING PLAYS.-Continned. 


^ MOM •< 


jr. f. 

. Overland Route, comedy, 3 acts-11 5 

5. Pafc of Shoes (A), farce, 1 act.4 3 

io. Partners for Life, comedy, 3 acts-7 4 


156. Peace at auy Price, farce, 1 act.1 1 

82. Peep o’ Lay, drama, 4 acts..12 4 

127. Peggy Green, farce, 1 act.3 10 


23. Petticoat Parliament, extravaganza, 


1 act. 15 24 

293. Philomel, romantic drama, 3 acts... 6 4 

62. Photographic Fix, farce, 1 act. 3 2 

61. Plot and Passion, drama, 3 acts. ... 7 2 
138. Poll and Partner Joe, burlesqe, la..10 3 

217. Poor Pillicoddy, farce, 1 act. 2 3 

110. Poppleton’s Predicaments, farce, la. 3 6 

50. Porter’s Knot, drama, 2 acts. 8 2 

59. Post Boy, drama. 2 acts. 5 3 

95. Pretty Horse-Breaker, farce . 3 10 

280. Pretty Piece of Business (A), come¬ 
dy, 1 act. • 2 3 

181. 182. Queeu Mary, drama, 4 acts... .37 9 
196. Queerest Courtship (The), comic 

operetta, 1 act. 1 1 

255. Quiet Family, farce, 1 act.4 4 

157. Quite at Home, comedietta, 1 act... 5 2 

132. Race for a Dinner, farce, 1 act.10 

237. Regular Fix (A), farce, 1 act. 6 4 

183. Richelieu, play, 5 acts. 12 2 

38. Rightful Heir, drama, 5 acts.10 2 

77. Roll of the Drum, drama, 3 acts- 8 4 

316. Romeo on the Gridiron (Al, mono¬ 
logue, for a lady. 1 

195. Rosemi Shell, burlesque. 4 scenes.. 6 3 
247. Rough Diamond (The), farce, 1 act. 6 3 

194. Rum, drama, 3 acts. 7 4 

13. Ruy Bias, drama, 4 acts.12 4 

229. Sarah’s Young Man, farce, 1 act.... 3 3 

158. School, comedy, 4 acts,. 6 6 

201. School for Scandal, comedy, 5 acts..13 4 
264. Scrap of Paper (A), comic drama, 3a 6 6 

79. Sheep inWolf’s Clothing, drama, la. 7 5 
203. She Stoops to Conquer, comedy, 5a.15 4 
37. Silent Protector, farce. 1 act,.... 3 2 

35. Silent Woman, farce, 1 act.... .*2 1 

213. Single Married Man (A), comic ope¬ 
retta, 1 act..6 2 

43. Sisterly Service, comedietta, 1 act.. 7 2 
6. Six Months Ago, comedietta, 1 act.. 2 1 

221. Slasher and Crasher, farce. 1 act... 5 2 
10. Snapping Turtles, duologue, 1 act.. .1 1 

26. Society, comedy, 3 acts.16 5 

207. Sold Again, comic operetta, 1 act... 3 1 
804. Sparking, comedietta, 1 act. 1 2 

78. Special Performances, farce, 1 act.. 7 3 
215. Still Waters Run Deep, comedy. 3a. 9 2 

256. Sweethearts, dramatic contrast, 2a.. 2 2 

232. Tail (Tale) of a Shark, musical mon¬ 
ologue, 1. scene.. 1 

31. Taming a Tiger, farce, 1 act . 3 

150. Tell-Tale Heart, comedietta. 1 act.. 1 2 
120. Tempest in a Teapot, comedy, 1 act 2 1 


M. F. 


257. Ten Nights an a Bar Room, drama, 

5 acts... 8 2 

146. There’s no Smoke without Fire, 

comedietta, 1 act. 1 2 

83. Thrice Married, personation piece, 

lact. 6 1 

245. Thumping Legacy (A), 1 act. 7 1 

251. Ticket of Leave Man, drama, 4 acts. 9 3 
42. Time and the Hour, drama, 3 acts. 7 3 
27. Time and Tide, drama, 4 acts. 7 6 

133. Timothy to the Rescue, farce, 1 act 4 2 
153. ’Tis Better to Live than to Die, 

farce, 1 act. 2 1 

134. Tompkins the Troubadour, farce. 1. 3 2 

272. Toodles (The), drama, 2 acts.10 2 

235. To Oblige Benson, comedietta, 1 act 3 2 
238. Trying It On, farce, 1 act. 3 3 

29. Turning the Tables, farce, 1 act. .. 5 3 

214. Turn Him Out, farce, 1 act. 3 2 

168. Tweedie’s Rights, comedy, 2 acts.. 4 2 

126. Twice Killed, farce, 1 act. 6 3 

234. ’Twixt Axe and Crown, play, 5 acts.24 13 
198. Twin Sisters, comic operetta. 1 act. 2 2 

265. Two Bounycastles, farce, 1 act. 3 3 

220. Two Buzzards (The), farce, 1 act.... 3 2 
56. Two Gay Deceivers, face, 1 act.3 

123. Two Polts, farce, 1 act. 4 4 

288. Two Roses (The), comedy. 3 acts... 7 4 
292. Two Thorns (The), comedy, 4 acts.. 9 4 
294. Uncle Dick’s Darling, drama, 3 acts 6 5 

162. Uncle’s Will, comedietta, 1 act. 2 1 

106. Up for the Cattle Show, farce, 1 act 6 2 

81. Vandyke Brown, farce, 1 act.3 3 

317. Veteran of 1812 (The), romantic mil¬ 
itary drama, 5 acts.12 2 

124. Volunteer Review, farce, 1 act. 6 6 

91. Walpole, comedy in rhyme. 7 2 


118 Wanted, a Young Lady, farce, 1 act. 2 1 
231. Wanted, One Thousand Spirited 
Young Milliners for the Gold Re¬ 
gions. farce, 1 act.3 7 

44. War to to the Knife, comedy. 3 acts 5 4 
311. What Tears can do, comedietta, la.. 3 2 
105. Which of the Two? comedietta, la.. 2 10 
266. Who Killed Cock Robin? farce, 2a.. 2 2 

98. Who is Who? iarce.3 2 

12. Widow Hunt, comedy, 3 acts. 4 4 

213. Widow (The), comedy. 3 acts. 7 6 

5. William Tell tvith a Vengeance, bur¬ 
lesque .8 2 

314 (Window Curtain, monologue. .. 1 

■ | Circumstantial Evidence “ _ 1 

136. Woman in Red, drama, 4 acts. 6 8 

161. Woman’s Vows and Masons’ Oaths, 

drama, 4 acts.10 4 

11. Woodcock’s Little Game, farce. 2a.. 4 4 
290. Wrong Man in the Right Place (A), 

farce, 1 act. 2 0 

54. Young Collegian, farce, 1 act. 3 2 



A COMPLETE DESCRIPTIVE CATALOGUE OF DE WITT’S ACT¬ 
ING PLAYS AND DE V/ITT’S ETHIOPIAN AND COMIC DRAMAS, 


containing Plot, Costume, Scenery. Time of Representation, and all other informa¬ 
tion, mailed free and post paid on application. Address 

DE WITT, Rose Street, New York* 



























































BE WITT’S ETHIOPIAN AND COMIC DEAMA.—Continue! 


M. F. 


33. Jealous Husband, sketch. 2 1 

94. Julius tne iSuouzer. burlesque, 3 sc. 6 1 
103. Katrina’s Little Game, Dutch act, 

1 scene . 1 1 

1. Last of the Mohicans, sketch. 3 1 

36. Laughing Gas, sketch, 1 scene. 6 1 

18. Live Injun,.sketch, 4 scenes. 4 1 

60. Lost Will, sketch .. .4 

37. Lucky Job, farce, 2 scenes. 3 2 

90. Lunatic (The), farce, 1 scene. 3 

109. Making a Hit, farce, 2 scenes. 4 

19. Malicious Trespass, sketch, 1 scene. 3 
149. ’Meriky, Ethiopian farce, 1 scene... 3 1 
151. Micky Free, Irish sketch, 1 scene.. 5 

96. Midnight Intruder, farce, 1 scene . 6 1 


147. Milliner’s Shop (The), Ethiopian 

sketch, 1 scene. 2 2 

129. Moko Marionettes, Ethiopian eccen¬ 
tricity, 2 scenes. 4 5 

101. Molly Moriarty, Irish musical 

sketch, 1 scene. 1 1 

117. Motor Bellows, comedy, 1 act.4 

44. Musical Servant, sketch. 1 scene.... 3 
8. Mutton Trial, sketch, 2 scenes .... 4 
119. My Wife’sYisitors, comic drama,lsc. 6 1 
49. Night in a Strange Hotel.sketch.lsc. 2 
132. Noble Savage, Ethi’n sketch, 1 sc... 4 
145. No Pay No Cure, Ethi’n sketch, 1 sc. 5 
22. Obeying Orders, sketch, 1 scene.... 2 1 


27. 100th Night of Hamlet, sketch. 7 1 

j 125. Oh, Hush! operatic olio. 4 1 

30. One Night in a Bar Room, sketch.. 7 
| 114. One Night in a Medical College, 

Ethiopian sketch, 1 scene. 7 1 

76. One, Two, Three, sketch, 1 scene.. 7 

91. Painter’s Apprentice, farce, 1 scene. 5 
87. Pete and the Peddler, Negro and 

Irish sketch, 1 scene. 2 1 

135. Pleasant Companions, Ethiopian 

sketch, 1 scene.5 1 

92. Polar Bear (The), farce, 1 scene_ 4 1 

9. Policy Players, sketch, 1 scene. 7 

57. Pompey’s Patients, interlude, 2 sc.* 6 
! 65. Porter’s Troubles, sketch, 1 scene.. 6 1 

66. Port Wine vs. Jealousy, sketch. 2 1 

115. Private Boarding, comedy, 1 scene. 2 3 

14. Recruiting Office, sketch, 1 act. 5 

105. Rehearsal (The), Irish farce, 2 sc... 3 1 

45. Remittance from Home,sketch. 1 sc. 6 
55. Rigging a Purchase, sketch, 1 sc... 3 


i. J 

2 i 


81. Rival Artists, sketch, 1 scene. 1 . 

26. Rival Tenants, sketch.4 

138. Rival Barbers’ Shops (The). Ethio¬ 
pian farce, 1 scene. 6 1 

15. Sam’s Courtship, farce, 1 act....... 2 1 

59. Sausage Makers, sketch, 2 scenes.. 5 1 

21. Scampini, pantomime, 2 scenes_3 3 

80. Scenes on the Mississippi, sketch, 

2 scenes. 6 

84. Serenade (The), sketch, 2 scenes.... 7 

38. Siamese Twins, sketch, 2 scenes.... 5 

74. Sleep Walker, sketch, 2 scenes. 3 

46. Slippery Day, sketch, 1 scene. 6 1 

69. Squire lor a Day, sketch.5 1 

56. Stage-struck Couple, interlude, 1 sc. 2 1 

72. Stranger, burlesque, 1 scene. 1 2 

13. Streets of New York, sketch, 1 sc... 6 

16. Storming the Fort, sketch. 1 scene. 5 

7. Stupid Servant, sketch, 1 scene_ 2 

121. Stocks Up! Stocks Down! Negro 

duologue, 1 scene;. 2 

47. Take It, Don’t Take It, sketch, 1 sc. 2 

54. Them Papers, sketch, 1 scene. 3 

100. Three Chiefs (The); sketch, 1 scene. 6 

102. Three A. M., sketch, 2 scenes.3 1 

34. Three Strings to one Bow, sketch, 

1 scene.4 1 

122. Ticket Taker, Ethi’n farce, 1 scene. 3 

2. Tricks, sketch. 5 2 

104. Two Awfuls (The), sketch, 1 scene.. 5 
5. Two Black Roses, sketch.4 1 

28. Uncle Eph’s Dream, sketch, 2 sc... 3 1 
134. Unlimited Cheek, sketch, 1 scene.. 4 1 

62. Vinegar Bitters, sketch, 1 scene_ 6 1 

32. Wake up. William Henry, sketch... 3 

39. Wanted, a Nurse, sketch, 1 scene... 4 

75. Weston, the Walkist, Dutch sketch, 

1 scene. 7 1 

93. What shall I Take? sketch, 1 scene. 7 1 

29. Who Died First ? sketch, 1 scene..: 3 1 
97. Who's the Actor? farce, 1 scenic.... 4 

137. Whose Baby is it? Ethiopian sketch, 

1 scene. 2 1 

143. Wonderful Telephone (The), Ethio¬ 
pian sketch, 1 scene. 4 1 

99. Wrong Woman in the Right Place, 

sketch, 2 scenes .2^*2 

85. Young Scamp, sketch, 1 scene.._ 3 

116. Zacharias’ Funeral, farce, 1 scene.. 5 


A COMPLETE DESCRIPTIVE CATALOGUE OF DE WITT’S ACT¬ 
ING PLAYS AND DEWITT’S ETHIOPIAN AND COMIC DRAMAS, 
containing Plot, Costume, Scenery, Time of Representation, and all other informa¬ 
tion, mailed free and post paid on application. Address 


DE WITT, Publisher, 

33 Rose Street, New York. 




































































LIBRARY OF CONGRESS 



Mlspnsal Boot lor 



illUUlUUl u. 



HOW TO MANAGE 
AMATEUR THEATRICALS. 


Being plain instructions for construction and arrangement of Stage, 
making Scenery, getting up Costumes, “Making Up” to represent 
different ages and characters, and how to produce stage Illusions and 
Effects. Also hints for the management of Amateur Dramatic Clubs, 
and a list of pieces suitable for Drawing Room Performances. Hand¬ 
somely illustrated with Colored Plates. 

Price , 25 Cents. 


DE WITT’S SELECTIONS 



FOR 




Nos. 1, 2, 3 <fc 4. 

Being choice selections from the very best Dramas, Comedies and 
Farces. Specially adapted for presentation by Amateurs, and for 
Parlor and Drawing Room Entertainments. 

Each number , 25 Cents. 


PANTOMIME PLAY , 

“HUMPTY DUMPTY.” 

The celebrated Pantomime, as originally played for 1,000 nights by the 
late George L. Fox. Arranged by John Denier, Esq. Eight male, 
four female characters. 

Price , 25 Cents. 















































































